Drawing Prints and Multiples

This poster features David Hockney’s affectionate portrait of his dachshunds, Stanley and Boodge, drawn in 1993 and rendered in his fluid, expressive style. The image highlights Hock...

Vladimir Veličković Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 1000 Size: 10 x 7.325 inches ...

Alekos FASSIANOS Elegant Man in a Bicycle, 2004 Offset Print Printed signature in the plate On vellum 18 x 14 cm (c. 7.1 x 5.5 inch) INFORMATION: Created for the Olympic Games of ...

Medium: original lithograph. Catalogue reference: Lust 100. Printed in 1957 for the art revue Derriere le Miroir (issue number 98) and published in Paris by Maeght. Sheet size: 15 x ...

Medium: original lithograph. Printed in 1982 for the art revue Derriere le Miroir (issue number 250, dedicated in homage to Aime and Marguerite Maeght) and published in Paris by the ...

Medium: original lithograph. Printed in Paris in 1957 at the Mourlot Freres atelier. Size: 8 3/4 x 6 inches (225 x 150 mm). Jean Cocteau executed this original lithograph to depict a...

Consulat à vieis an original artwork realized by Jean Baptiste Réville in early 19th. Century . Etching on paper. Titled and signed on plate on the right corner. Good conditions. ...

EMMY LOU PACKARD (1914 – 1998) ARTICHOKE PICKER, 1968 Color linocut, signed in pencil, unnumbered. 22 7/8” x 17 1/8” sheet 24” x 15 ¼” Full margins with deckle edges. Good conditio...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled New Leaves, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth. Pu...

Etching with drypoint on cream wove paper, 7 x 8 3/4 inches (177 x 223 mm); sheet 10 1/2 x 11 3/4 inches (267 x 300 mm), full margins. Signed V. E. Chapel and numbered 62/250 in penc...

Paris: A. Salmon, 1883. Etching with engraving on white laid paper, 6 1/8 x 9 3/4 inches (156 x 247 mm); sheet 9 1/4 x 12 1/2 inches (235 x 318 mm), full margins. In very good condi...

Pablo Picasso Madeleine, 1905 (Sheet 2 of the episode "Les Saltimbanques") Etching on copper in black on cream wove paper 4 3/4 x 3 1/4 inches Sheet size is 8 x 6 3/4 inches From th...

This lithograph in 24 colors on wove paper was created in 1961. Dated twice by the artist within the original lithograph plate, unsigned as issued. Published by Andre Sauret, Monte C...

Keith Haring - Fun Book Second Edition Limited Edition 1500 - published in a stated limited edition of 1500 (unnumbered; total edition documented on the back page) Plate signed (prin...

Clinton Adams, 'September Still Life', lithograph, 1956, edition 20. A superb impression, on cream wove paper, with full margins (1 1/2 to 3 1/8 inches);...

Etching on Montval paper, realized between 1927 and 1930. Table from "Les Fables de La Fontaine", published in 1952 in and edition of 200. Hand signed in pencil. Very good condit...

Etching with drypoint on cream laid paper 4 x 6 1/2 inches (102 x 166 mm); sheet 5 1/8 x 7 5/8 inches (130 x 194 mm), full margins with a deckle edge. In good condition with light ye...

Etching on paper. Hand Signed and numbered. Edition of 25, in roman numbers. Excellent condition.

This exquisite engraving after Edgar Degas (1834–1917), titled Femme se lavant dans sa baignoire (Woman Washing in Her Bathtub), originates from the celebrated album Degas Danse dess...

Walter Tittle, 'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 6 15/16 inches (299 x 176 mm); sheet size 15 11/16 x 9 inches (399 x 229 mm). A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

'1. 2. Delias eucharis 3. Delias philyra' Late 19th century colour lithograph of butterflies.

JOSE CLEMENTE OROZCO (1883 – 1949) CABEZA DE MUJER, ( Woman's Head: Mexican Woman) 1929 (Orozco 9) Lithograph, signed and numbered 23/50. in pencil. Pri...

Pablo PICASSO Carmen, The Sleeping Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catal...

Medium: original lithograph. Printed in Paris in 1930 at the Atelier Desjobert for "Alice's Adventures in Wonderland". This is from the edition of 350 on Rives paper printed under th...

John Marin, 'Bridge, Venice', etching, 1907, Zigrosser 59. Signed in pencil. Signed and dated 'Marin 07' in the plate, lower center; titled 'Le Pont Venezia' in the plate lower right. A superb, delicately inked impression, on antique cream laid paper, the full sheet with margins (5/8 to 3/4 inches); slight lightening to the paper within the original mat opening, otherwise in excellent condition. Printed by George Haskell, New York. Matted to museum standards, unframed. Image size 5 x 7 1/16 inches; sheet size 6 5/8 x 8 11/16 inches. Literature: 'John Marin: Peintre Graveur', Charles Saunier, L' Art Décoratif, Paris, January, 1908 (illustrated). 'The Complete Etchings of John Marin', Carl Zigrosser, Philadelphia Museum of Art, 1969 (illustrated). Impressions of this work are in the following museum collections: Art Institute of Chicago (Stieglitz Collection), Cleveland Museum of Art, Fine Arts Museums of San Francisco, Metropolitan Museum of Art, and the Philadelphia Museum of Art. ABOUT THE ARTIST "How to paint the landscape: First, you make your bow to the landscape. Then you wait, and if the landscape bows to you, then, and only then, can you paint the landscape." —John Marin “I would say to a person who thinks he wants to paint, go and look at the way a bird flies, a man walks, the sea moves. There are certain laws, certain formulae. You have to know them. They are nature's laws and you have to follow them just as nature follows them... You don't create the formulae... You see them." —John Marin, conversation with Dorothy Norman...

Andy Warhol (1928-1987) Flowers (black and white), 1986 Original silkscreen (Printer Alexander Heinrichi, New York) Signed in pencil with the monogram lower right Countersigned in p...

This exquisite lithograph after Edgar Degas (1834–1917), titled Trois danseurs (Three Dancers), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and the intimate psychological nuances of the ballet studio. Executed as a lithograph and pochoir on velin paper, this work measures 13 x 17 inches (33.02 x 43.18 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Trois danseurs (Three Dancers), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 13 x 17 inches (33.02 x 43.18 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches (1945) is one of the earliest and most significant American postwar fine art portfolios devoted to Edgar Degas’s intimate works on paper. Published by The Studio Publications, Inc., New York, and rendered and printed by Albert Carman at City Island, the album sought to faithfully reproduce a group of Degas’s ballet-related drawings through a combination of lithography and hand-applied pochoir coloring. This hybrid technique allowed the edition to preserve the immediacy, tonal subtlety, and gestural delicacy central to Degas’s draftsmanship. Conceived as a fine art publication rather than a commercial book, the portfolio provided American audiences unprecedented access to Degas’s private, spontaneous studies—images that reveal the artist’s fascination with movement, anatomy, and the psychological atmosphere of the rehearsal studio. The album exemplifies the mid-20th-century revival of pochoir as a means of recreating the texture and coloristic nuance of original works on paper, and it remains an important document of how Degas’s legacy was translated into high-quality printed form for collectors, museums, and connoisseurs. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Degas pochoir, Degas lithograph...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, a ship, Venus sculpture, greek urns, and snakes, printed in black o...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the collections of the Los Angeles County Museum of Art, and Scripps College. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

Jorge Castillo Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Size: 10 x 7.325 inches (25.4 × 18.61 cm) Ed...

By George Condo 2024 22 colour silkscreen with spot colours on 600gsm Somerset Tub Sized Radiant White paper 80 x 81 cm Edition of 150

NEW GENERATION is a hand drawn, limited edition lithograph printed using hand lithography techniques on archival Arches paper, 10% acid free, by the renowned African American woman a...

Etching on paper realized by Paulette Humbert in the mid-20th Century. Hand signed and numbered in pencil. One of 10 Artist's Proofs. Very good condition.

Lithograph from Editions Verve, Paris, 1952. Paper Size: 14 x 10.25 inches ( 36 x 26 cm ) Image Size: 6.75 x 8.5 inches ( 17 x 22 cm ) Framed: Framing available upon request. Ask o...

Book page 117 in Chagall Lithographe II (1957-1962). Reproduction of image from 1961. ‘Chagall Lithographe II' Andre Sauret, Paris, 1963. Text in French by Fernand Mourlot. The seco...

Medium: original etching. This impression on laid paper was printed in London in 1868 for the rare first volume of Philip Gilbert Hamerton's "Etching and Etchers". In addition to bei...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

Medium: original lithograph. Printed in Paris in 1957 at the Mourlot Freres atelier. Size: 9 x 6 inches (225 x 150 mm). Jean Cocteau executed this original lithograph to depict a sce...

KATHE KOLLWITZ (1867-1945) HAMBURGER KNIEPPE, 1901) (K.58 IIIb) Soft Ground Etching, Plate 9 ¾ x 8 ¼ sheet 10 ½ x 13 ¾. With the von de Becke blind stamp in the lower right. Prin...

Medium: lithograph (after the drawing). Printed in 1966 at the Mourlot Freres atelier for the "Ceiling of The Paris Opera" book, exploring Chagall's designs for The Paris Opera. Size...

A magnificent forest scene with lush, vast foliage along a brook by a master of the Dutch Golden Age. Amsterdam: c1650. Etching on cream laid paper, 5 1/8 x 5 3/4 inches (130 x 147 ...

Salvador DALI (1904-1969) Casanova : Birdy on the Tongue, 1967 Original etching Printed signature in the plate On Rives vellum 38 x 28 cm (c. 14.9 x 11 inch) REFERENCES : - Catalog...

Medium: original lithograph. Printed in 1967 for the art revue Derriere le Miroir (issue number 168) and published in Paris by Maeght. Size: 15 x 22 inches (378 x 555 mm). There is a...

JOSE CLEMENTE OROZCO (Mexican 1883 – 1949) WILD PARTY 1935 (Orozco 28) (aka - Borrachos en la cama quebrada, Borracho’s & Fin de Fiesta - Miseria) Lithograph signed and numbered 91...

L'Académie de Paris (The Academy in Paris). Etching on Arches wove paper (watermark), 1971. Signed and numbered 184/250 A. Plate 42.5 cm x 59.5 cm. Sheet approx. 56.5 cm x 75.5 c...

This is a framed reproduction of "Woman's Portrait", published in 1999 by LEM with the approval of the Succession Matisse. The piece, part of the permanent collection at the Hermitag...

This exquisite lithograph after Rene Magritte (1898–1967), titled Sans titre (Untitled), from the album Poems 1923-1958, Dix dessins de Rene Magritte (Ten Drawings by Rene Magritte),...

Signed, titled and numbered by the artist, edition of 30. This Imaginary building shows the move toward more elaborate landscape images Houtin started doing in the early 1980's. Fr...

Está firmado a plancha en la parte inferior y fechado del año 1931 El estado del grabado es bueno Se presenta bien enmarcado Medidas del grabado: 12 cm. x 12,5 cm. Medidas del ma...

Pierre-Yves Tremois Thésis and Pelée Original etching, 1970 Handsigned by the artist Numbered / XXIV copies (total edition of 90 + XXIV) Size 57 x 45 cm (c. 22,4 x 17,7 in) Very goo...

Color lithograph realized by Marc Chagall in 1960 to illustrate "The Bible".  Edition of 6500, published by Tériade in no. 33 and 34 of the Art Magazine Verve. Printed by Mourlot a...

A classic David Hockney portrait, this lithograph depicts the artist's friend Brooke Hopper. Brooke Hopper, one of the Hollywood elite, is the daughter of the producer Leland Hayward...

Pierre-Yves Tremois A loving couple Original etching, 1970 Handsigned by the artist Numbered / XXIV copies (total edition of 90 + XXIV) Size 57 x 45 cm ...

MAN is an original woodcut print by the renowned American and Mexican woman printmaker and sculptor, Elizabeth Catlett. Hand printed on white Rives BFK printmaking paper, 100% acid f...

Miguel CONDE (1939-) The Balance of Pear Original etching Handsigned in pencil Numbered / 100 proofs Authenticated by the editor blind stamp On vellum 38 x 56 cm (c. 15 x 22 in) Ve...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Clownesse (Clowness), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by Paris ...

KATHE KOLLWITZ (1867-1945) GEFALLEN (Killed in Action) 1920 (Klipstein 153 (1st state, a of c of 2 states) Lithograph on laid paper. Image 16 ¼ x 15 ¼ inches, Large Full Sheet, 25 ½...

Medium: original lithograph. Printed in Paris in 1968 by the Mourlot atelier for the dustjacket cover of the Mourlot catalogue raisonne of Bernard Buffet lithographs. Sheet size: 12 ...

Screen print realized by Piero Gauli in 1970s. Edition of XX in roman numbered, aside of the edition in roman numbered of 80. Hand signed and numbered in pencil. Very good condition.

PIERRE-AUGUSTE RENOR (1841 - 1919) SUR LA PLAGE, a BERNEVAL (D.: S. 5) Drypoint on laid paper. The plate was created in c. 1892. Plate 5 3/8 x 3 3/4". Sheet 11 1/4 x 10 1/8". This...